Archive for the 'photographers' Category



13
Sep
11

RED SQUARE GALLERY pt 3 :: architectural and urban photography


RED SQUARE GALLERY is specialized in architectural and urban photography. Every 10 days a selection of 6-8 photos with artist’s interview is presented on the gallery’s blog.

Click on posters to view exhibitions.


RED SQUARE GALLERY presents Tom McLaughlan a.k.a.daruma RED SQUARE GALLERY presents Jurek Durczak a.k.a. jurek d.  RED SQUARE GALLERY presents Ben Patio
RED SQUARE GALLERY presents Claudia C. Magno nts Paolo Cagliero a.k.a. louisdead presents Zel Nuñes a.k.a. zelnunes

27
Jun
11

RED SQUARE GALLERY pt 2 :: architectural and urban photography


RED SQUARE GALLERY is specialized in architectural and urban photography. Every 10 days a selection of 6-8 photos with artist’s interview is presented on the gallery’s blog.

Click on posters to view exhibitions.



RED SQUARE GALLERY presents Luis Reina a.k.a. lcrf RED SQUARE GALLERY presents Carlos Pataca RED SQUARE GALLERY presents roB_meL
RED SQUARE GALLERY presents mengwen29 RED SQUARE GALLERY presents rita vita finzi RED SQUARE GALLERY presents fernandoprats

03
Jun
11

fernandoprats :: immadencity : buenos aires contemporary architecture




Immadencity, Buenos Aires contemporary architecture is a photo-series made by Fernando Prats and the title of the photo book, that is in July going to be published in both standard and deluxe editions. A selection of images from this series with an interview is presented in Red Square Gallery’s current exhibition, to view click here.

17
May
11

barbara kasten :: abstract photographs of geometric constructions


A selection of photographs from the series Studio Constructs (2007-10)


barbara kasten_Studio Construct 8

^

Studio Construct 8 (2007), archival pigment print 43.75×53.75in


barbara kasten_Studio Construct 69

^

Studio Construct 69 (2008), archival pigment print 43.75×53.75 in


^

Studio Construct 51 (2008), archival pigment print 43.75×53.75 in


^

Studio Construct 17 (2007), archival pigment print 43.75×53.75 in


^

Studio Construct 59 (2008), archival pigment print 43.75×53.75in



Barbara Kasten explores modes of reorganizing the visual environment by using geometric shapes, mirrors and glass to create elaborate constructions for the purpose of being photographed while exposed to specific light conditions. The scale of these constructions has ranged from the moderate to full-blown architectural interactions, that have been more akin to film sets with crews in attendance. By this approach, the photograph itself becomes the object and is removed from being representative or documentary. Kasten expands that while subject matter is inherent to photography, her images are unidentifiable and exist as records of light that explore spatial and formal ambiguity. This distance results in a more indirect connection between the viewer and the work. (edit from B.K.’s website)

While Kasten has referred to the influences of The Bauhaus and Constructivism in her work, there are clearly traces back to work of Moholy Nagy. She can also be seen as a precursor to a new generation of artists using photography and constructed environments such as Eileen Quinlan and Sara Van Der Beek. Perhaps a less expected but also a defining influence was her time as a West Coast artist that was spent with artists such as James Turrell and Robert Irwin, who were both working light as a primary material.

>The process of capturing an image through a camera lens requires an object. This body of work addresses the representational value of that object. By photographing a transparent plane, and its shadow, familiar association with life experience is eliminated. The result is a concrete photographic abstract image.< Barbara Kasten

More info barbarakasten.net
To read James R. Hugunin’s essay about Barbara Kasten’s photography click here.

11
May
11

aaron schuman and charlotte cotton :: what’s next? : on future of photography

Aaron Schuman: One thing that I find fascinating about what’s happening right now – and I suspect that this will gain importance in the future – is that rather than photography represents the capture in culmination of something, it’s becoming a form of investigation. For me, the most interesting works coming out right now even if they’ve been formalized in the form of a book, an exhibition, a print or a website – represent the beginnings of something. They’re not simply an end result, or the remnants of somethings that has past and been preserved in silver gelatin, emulsion or ink; they’re starts, sparks or seeds from which many other things might grow.

Charlotte Cotton: Perhaps that’s something that could be credited to this digital phase in our culture – not just in terms of the web, open-sourcing, or crowd-sourcing, which all present dynamics that offer participation – but even on a rudimentary level. For photographers no longer have to self-censor or edit themselves because of analogue limitations, such as the number of frames on a roll of film or the cost of a sheet of film. The endlessness of digital capture is actually loosening photography up and allowing it to be lots of different things, rather than simply a culmination or condensation of something.

Aaron Schuman: Absolutely. The technology has shifted, but also the way in which people encounter and engage with photography has shifted. Rather than there being a limited supply of information and images, there’s this overwhelming torrent that we all have to sift through on a daily basis and the process of editing itself is becoming internalized by everyone. Just within the last years, there have been so many incredibly complex and original photographic projects and books, rather than simply more typologies and traditional narratives. Photographers are cobbling together loads of information in really intricate and often open-ended, non-linear and puzzling ways, but they’re not solving these puzzles for the reader or viewer; they’re entrusting their audience with that power. I was so excited, and surprised, by the recent success of a number of these very challenging projects. The fact that these kinds of works are being embraced indicates that there is a burgeoning audience for these sorts of photo-involving puzzles, which I find incredibly encouraging.

Charlotte Cotton: I think that we are finally getting over the notion that photography is democratic.

Aaron Schuman: Could you explain why do you think that photography is democratic?

Charlotte Cotton: One way that you could define photography in terms of democracy is that anyone can make a picture; billions are made every year, so it’s clearly very easy and I’m happy to admit that photography is very democratic in terms of its rendering. But as a meaningful cultural force it should not be described as being democratic, because culture is a process of defining what’s good – what’s resonant – and that’s not determined by a democratic or even an empirical system. So I’m not happy with the idea that, just because it’s easy to render a photographic image, anyone can make a great, culturally resonant photograph. These processes are not democratic; at some point there is an elitism involved and I think that such elitism is only a problem if you think in terms of its high-art version, in which there are millions of reasons why you might not be allowed entry into that world. But a group of people who all really get the same thing whether it’s photography form of collective culture – if that’s elitist, it’s in an entirely different league. It’s about self-elected elitism rather than the elitism of an establishment. ( … )

Edit from Aaron Schuman and Charlotte Cotton’s dialogue which is published in WHAT’S NEXT? publication from FOAM (Fotomuseum Amsterdam) as part of their recent project that critically examines possible future in the field of photography. More info on WHAT’S NEXT forum.

Related post: Joan Fontcuberta’s essay for ‘What’s next?’ forum

11
May
11

Carlos Pataca :: crown’s jewels or the impossible match


carlos pataca-crowns jewels or the impossible match

Click on image to view a slide-show of the series with symmetrically merged architectural photo-montages created by Carlos Pataca.

02
May
11

Dieter Roelstraete :: What you see is what you get

The creation narrative of photography – and, consequently, both its mission statement and its meaning – is a matter of pure and simple etymology. “Photo-graphein” equals “writing with light” – or: writing at the speed of light, as the artistic ideology of the snapshot/the singular moment, courtesy of Henri Cartier-Bresson and the like, would have it. The speed of a single defining and by definition creative glance – one brief and utterly powerful barrage of photons: the camera flash. Photography as the quintessential art of the instant, this instant here and now, one moment in time – the proverbial twinkling of the eye. If ever an art form has been immersed in the conceptual apparatus of the temporal, it surely has to be the art of photography: writing with light and writing in time, the art of photography presents itself as the one art form fully – and desperately – aware of its fleeting temporality, its unalterable transience, its total and utter impotence versus all attempts, so achingly typical of so many other art forms (the more traditional media of painting and sculpture in particular seem to ground their essence-as-existence in an ambitious claim to permanence), to record a certain state of wilful eternity. Short-lived but real. The art of photography may well pride itself on being the most sincere of all art forms exactly because of its fateful modesty: unable to grasp more than this one futile moment in time, the photograph finds itself “closer” to the experiential nature of reality than any other art form known to man.

Recording no more than this one futile moment in time – and supposedly doing so in the interest of posterity. This one futile moment in time, recorded for us to return to time and time again: a remembrance and souvenir of things and times past, but also a slice of things and times past made present every time we take another look at it. A gateway to a moment long gone but far from closed down/off, the photograph offers us a possibility of endlessly revisiting the spiral of time, discovering “new” things, things unseen, unsuspected or simply forgotten, every time we lay eyes upon its image. Think of a photograph as a means of circumnavigating the trappings of superficial first impressions: we can always go back to what we saw or, better still, didn’t see.

Through the lens of the camera, we get a chance to actually peer through the treacherous simplicity and seeming transparency of representation: taking recourse to the univocal evidence of the snapshot, we can actually try and learn to cure ourselves from the deeply ingrained visual addiction to “love at first sight” and “taking things at face value”. Photography equals the chance of a second glance: deeper, more closely focused, longer, in the relative seclusion of a brief moment out of time, as we take one step back into time. Photography is out there to explore – lighten up – the dark side of sight – all the things we thought didn’t matter, or simply forgot to look at in our habitual hurry to consider the world a fully known and explored place. Stepping back into the momentary space of the photograph, we can actually revive the one moment we thought we’d seen it all – only to find ourselves deceived by the so-called “naturalness” of the glimpse: so many things we always thought “to be” now resurface “to seem”.

23
Apr
11

RED SQUARE GALLERY pt 1 :: architectural and urban photography


RED SQUARE GALLERY is specialized in architectural and urban photography. Every 10 days a selection of 6-8 photos with a short interview is presented on the gallery’s blog.

Click on posters to view exhibitions.


RED SQUARE GALLERY presents galaad redsquaregallery#5: elen@c mluisa 

RED SQUARE GALLERY presents xgray RED SQUARE GALLERY presents gherm redsquaregallery presents polah2006

22
Apr
11

Joan Fontcuberta :: what’s next : on future of photography


“What is commonly understood as art has become a mere genre of culture, a genre aimed at the production of artistic merchandise and ruled by the laws of the marketplace and entertainment industry. It is a genre in the way that any other cultural form such as design, fashion, film or advertising might be.

There is another art which does not draw the spotlight or walk the red carpet, but which, from the most clandestine dissidence, proposes to fight the laws of the marketplace and the entertainment industry at precisely the same time as it reinvents itself as art. It’s an art which rejects the splendor of the museums and biennials and any other efforts at subjugation.

We live in a world saturated with images: we live in the image and the image lives in us and makes us live. Since McLuhan in the 1960s, the preponderant role of the mass media has been confirmed and the iconosphere can be considered the model of the global village. What changes has brought now is not the immersion in new communication frameworks (digital formats, internet, social networks), but the degree to which this extraordinary flow of images is found accessible to everyone.

We are therefore passing through an age of access. It is an era that crowns a process of secularization of the visual experience: the image ceases to be the domain of magicians, artists, specialists and professionals. We all produce images as a natural way of interacting with others. On the other hand, the consolidation of new work and behavioral habits (such as cloud computing) will catalyze many more dynamic cultural stages on a large scale (cloud imagining, cloud living).

This situation implies substantial changes for photography and the image in general that in the near and medium term will only increase. This will be its decalogue:

1 – ON THE ROLE OF THE ARTIST: no longer a case of producing works, but of prescribing meanings
2 – ON THE ARTIST’S BEHAVIOR: the artist merges with the curator, with the collector, with the teacher, with the art historian, with the theorist … (all facets of art have become chameleon like and authorial)
3 – ON THE ARTIST’S RESPONSIBILITY: an ecology of the visual, which will penalize saturation and encourage recycling
4 – ON THE FUNCTION OF IMAGES: the circulation and management of the image will prevail over the content of the image
5 – ON THE PHILOSOPHY OF ART: discourses of originality will be delegitimized and appropriationist practices will be normalized
6 – ON THE DIALECTIC OF THE SUBJECT: we will find greater camouflage of the author and reformulation of the models of authorship (co-authorship, collaborative creation, interactivity, strategic anonymities and orphan works)
7 – ON THE DIALECTIC OF THE SOCIAL: further advances in overcoming the tension between the private and the public
8 – ON ART’S HORIZON: more play will be given to the ludic aspects and less to the solemn and the boring
9 – ON THE EXPERIENCE OF ART: creative practices which accustom us to dispossession will be privileged: it is better to share than to own
10 – ON THE POLITICS OF ART: not to surrendered to glamour and consumption but rather to embark on the act of agitating consciences

It is a matter of greeting a new visual culture able to prepare us for resistance, which trains us not just to live in the image, but to survive the image.” Joan Fontcuberta


Published in WHAT’S NEXT? printed publication 2/4 from FOAM (Fotomuseum Amsterdam) as part of their recent project that critically examines possible future in the field of photography. More info on WHAT’S NEXT forum.

“In fact the question is about far more than just the future of photography. It is about the future of a society directed by visual media, a society in which people primarily communicate with technological tools that are developed and made into consumer products with great speed, a society in which every layman can and will be a photographer, sharing his experiences with newly made online communities, a society in which the time and space have drastically changed. In short, What’s Next? is a debate about the future of a medium and of a society in transition.” (edit from FOAM website)


Click here to read Jim Casper’s article about Fontcuberta’s photographic work, where he also included an audio interview with the artist.




Click photo to visit my website

brancolina@yahoo.com

Join 61 other followers